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![<p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p>
<p><a href="https://www.flickr.com/photos/11561957@N06/55577568734/" title="Visconti di Modrone Tarot"><img src="https://live.staticflickr.com/65535/55577568734_6554deeeff_m.jpg" width="180" height="240" alt="Visconti di Modrone Tarot" /></a></p>
<p>Christian Dior<br />
Maria Grazia Chiuri<br />
Collection Haute Couture, Automne/Hiver 2017-2018<br />
Ensemble with satin crepe and silk organza coat embroidered with images inspired by the Visconti di Modrone Tarot, embroidered tulle dress.<br />
<br />
Christian Dior (1905-1957) was superstitious, and liked having his cards read by Madame Delahaye, his trusted fortune teller. Blending this Dior legacy with the sumptuous tarot sets owned by powerful Renaissance women, Maria Grazia Chiuri designed a coat densely embroidered with a series of tarot cards. The reference is extremely specific, with the inspiration coming from the Visconti di Modrone Tarot from the second half of the 15th century, now housed at Yale University.*<br />
<br />
<br />
For the exhibition<br />
<br />
Louvre Couture - Art and Fashion: Statement Pieces<br />
(January – August 2025)<br />
<br />
Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br />
In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br />
Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br />
The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br />
<br />
Taken in Musée du Louvre <br />
<br />
The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br />
In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br />
[*Musée du Louvre]</p>](https://live.staticflickr.com/65535/55577568734_6554deeeff_s.jpg)
![<p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p>
<p><a href="https://www.flickr.com/photos/11561957@N06/55577511268/" title="Visconti di Modrone Tarot"><img src="https://live.staticflickr.com/65535/55577511268_dff911e58d_m.jpg" width="180" height="240" alt="Visconti di Modrone Tarot" /></a></p>
<p>Christian Dior<br />
Maria Grazia Chiuri<br />
Collection Haute Couture, Automne/Hiver 2017-2018<br />
Ensemble with satin crepe and silk organza coat embroidered with images inspired by the Visconti di Modrone Tarot, embroidered tulle dress.<br />
<br />
Christian Dior (1905-1957) was superstitious, and liked having his cards read by Madame Delahaye, his trusted fortune teller. Blending this Dior legacy with the sumptuous tarot sets owned by powerful Renaissance women, Maria Grazia Chiuri designed a coat densely embroidered with a series of tarot cards. The reference is extremely specific, with the inspiration coming from the Visconti di Modrone Tarot from the second half of the 15th century, now housed at Yale University.*<br />
<br />
<br />
For the exhibition<br />
<br />
Louvre Couture - Art and Fashion: Statement Pieces<br />
(January – August 2025)<br />
<br />
Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br />
In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br />
Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br />
The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br />
<br />
Taken in Musée du Louvre <br />
<br />
The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br />
In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br />
[*Musée du Louvre]</p>](https://live.staticflickr.com/65535/55577511268_dff911e58d_s.jpg)
![<p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p>
<p><a href="https://www.flickr.com/photos/11561957@N06/55576373217/" title="History of Scipio"><img src="https://live.staticflickr.com/65535/55576373217_d7003ce094_m.jpg" width="180" height="240" alt="History of Scipio" /></a></p>
<p>Viktor & Rolf<br />
Viktor Horsting et Rolf Snoeren<br />
Collection Haute Couture, Automne/Hiver 2021-2022<br />
Gown with hand-applied, individually gathered, backed-out petals forming a delicate flower on Lurex brocade and cloque; macramé belt and collar, pearls at the shoulders and collar and Swarovski crystals at the wrists.<br />
<br />
This fictional royal figure evokes the Renaissance, The gold-patterned deep blue brocade is reminiscent of 16th-century Limoges enamelware. The underside of plates frequently featured decorative motifs with gold highlights on a black background showing foliage scrolls intertwined with leather straps. The roses climbing up the dress are similar to those overflowing the borders of tapestries, as seen in the tapestry of the History of Scipio.*<br />
<br />
<br />
For the exhibition<br />
<br />
Louvre Couture - Art and Fashion: Statement Pieces<br />
(January – August 2025)<br />
<br />
Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br />
In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br />
Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br />
The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br />
<br />
Taken in Musée du Louvre <br />
<br />
The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br />
In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br />
[*Musée du Louvre]</p>](https://live.staticflickr.com/65535/55576373217_d7003ce094_s.jpg)
![<p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p>
<p><a href="https://www.flickr.com/photos/11561957@N06/55577820145/" title="Visconti di Modrone Tarot"><img src="https://live.staticflickr.com/65535/55577820145_9deaa7a73d_m.jpg" width="180" height="240" alt="Visconti di Modrone Tarot" /></a></p>
<p>Christian Dior<br />
Maria Grazia Chiuri<br />
Collection Haute Couture, Automne/Hiver 2017-2018<br />
Ensemble with satin crepe and silk organza coat embroidered with images inspired by the Visconti di Modrone Tarot, embroidered tulle dress.<br />
<br />
Christian Dior (1905-1957) was superstitious, and liked having his cards read by Madame Delahaye, his trusted fortune teller. Blending this Dior legacy with the sumptuous tarot sets owned by powerful Renaissance women, Maria Grazia Chiuri designed a coat densely embroidered with a series of tarot cards. The reference is extremely specific, with the inspiration coming from the Visconti di Modrone Tarot from the second half of the 15th century, now housed at Yale University.*<br />
<br />
<br />
For the exhibition<br />
<br />
Louvre Couture - Art and Fashion: Statement Pieces<br />
(January – August 2025)<br />
<br />
Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br />
In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br />
Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br />
The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br />
<br />
Taken in Musée du Louvre <br />
<br />
The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br />
In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br />
[*Musée du Louvre]</p>](https://live.staticflickr.com/65535/55577820145_9deaa7a73d_s.jpg)
